In popular parlance, “concrete poetry” is taken to be synonymous with “visual poetry,” whose focus on layout, typography, word splicing and repetition results in poems to be seen rather than heard or read silently. But in the hands of its best practitioners, from Oyvind Fahlsltröm to Carl Andre, concretism has always involved what James Joyce called the “verbivocovisual.” In a given poem—or “constellation” as the Brazilian concretists called it—the visual, sonic and semantic dimensions of a poem cannot be separated: form equals meaning. Then too, concrete poetry, as in Augusto de Campos’s later texts, shades naturally into conceptualism: the issue is not one of finding original words and phrases but of appropriating existing ones and putting them in new contexts. Further, the concrete poem is frequently what I have called a differential text: it begins as printed page but may morph into sculpture, sound piece, digital composition or video.
- by Susan Tallman
- New Editions from Bernard Chauveau and Couleurs-Contemporaines.
“JOB FROM MOLNAR”: Pioneering Computer-Generated Prints
- by Grant Taylor
- Grant D. Taylor writes about Vera Molnár.
The Personal is Computable: Sonya Rapoport
- by Leslie Jones
- Leslie Jones looks at the career of Sonya Rapoport.
Interlaced: Anni Albers at Alan Cristea
- by Catherine Daunt
- Catherine Daunt reviews the Anni Albers retrospectives at Tate Modern and Alan Cristea in London.
Mirskontsa (Worldbackwards) and Russian Futurism
- by Nancy Perloff
- Early 20th century Russian Futurist books.